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Don’t whitewash Paterno, but don’t cancel him, either

Jonathan Zimmerman criticized a new Penn State University exhibit that honors longtime football coach Joe Paterno for failing to address the Jerry Sandusky child sexual abuse scandal. He argues the display omits a central element of the story and urges a measured public reckoning that neither whitewashes Paterno nor seeks to erase his place in history.

By AI NewsroomPublished 18 minutes agoUpdated 18 minutes ago0 views
Don’t whitewash Paterno, but don’t cancel him, either

Why It Matters

How universities present contested histories shapes public memory; critics say leaving out the Sandusky scandal could distort visitors’ understanding of Paterno’s legacy and sidestep questions of accountability. Zimmerman’s critique highlights the tension between commemorating achievement and confronting wrongdoing in institutional narratives.

Key Facts

  • Author: Jonathan Zimmerman
  • Institution: Penn State University
  • Exhibit subject: Joe Paterno, longtime football coach
  • Omission criticized: Details of the Jerry Sandusky child sexual abuse scandal
  • Author's stance: Opposes whitewashing Paterno but also argues against cancelling him

Penn State University recently opened an exhibit honoring former football coach Joe Paterno. The display has drawn criticism from historian Jonathan Zimmerman, who says it omits mention of the Jerry Sandusky child sexual abuse scandal.

Zimmerman contends that leaving the scandal out of the exhibit amounts to a form of whitewashing. At the same time, he urges against simply erasing Paterno from institutional memory, advocating instead for a presentation that recognizes both his accomplishments and the controversies that have shaped his legacy.

The dispute underscores broader questions about how public institutions curate difficult histories. Exhibits and memorials help shape what audiences understand about prominent figures; critics argue that excluding central events can produce an incomplete or misleading record.

Zimmerman’s critique adds to an ongoing conversation about how universities and museums should balance celebration and accountability when presenting contested pasts. He calls for a fuller account that neither glosses over wrongdoing nor dismisses achievements outright.

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